Justin was recovering from his madcap trip to the Hawkeye State, so we took a brief hiatus but will be returning next week with a "Fun," summery feeling sessions-and-album discussion (hint hint).

Enjoy this blast from the past in two ways: Justin & Gurdip's 2021 bonus discussion of the Billboard Top 10 from May 26, 1958, which offers up iconic rock and pop tracks, from Elvis's "Wear My Ring Around Your Neck" and Chuck Berry's "Johnny B. Goode" to less-well-remembered hits like The Four Preps' "Big Man". But the guys ended up going deeper when Justin start pulling in the top songs on the R&B and country charts as well, realizing that mid-1958 is a point of huge musical overlap between the major mainstream genres.

Then, the guys also discuss some of the other Elvis-related items featured in this historical issue of this music industry magazine, including a contemporary review of King Creole and an incredibly fascinating story about Elvis bootlegs pressed into unconventional materials in Soviet Russia in the 1950s!

For your listening convenience and pleasure, we've built a Spotify playlist of the songs featured on these charts, plus a handful of other tracks included in the discussion, at this link: https://open.spotify.com/playlist/6PeM4TMYaXx8ToQOfS84GH?si=de7dee88f6bf4e81

For more on the X-Ray Audio Project, visit: https://x-rayaudio.squarespace.com/

If you enjoyed this kind of content, please consider consider supporting us with a donation at Patreon.com/TCBCast. We have an archive of over 4 years (and growing!) of bonus discussions just like this! Your support allows us to continue to provide thoughtful, provocative, challenging and well-researched perspectives on Elvis's career, his peers and influences, and his cultural impact and legacy.

Justin and Bec give their reactions to watching Disney's live action remake of the 2002 animated classic "Lilo and Stitch," which prominently featured Elvis's music. The remake does, too, so we primarily center our discussion initially around how Elvis is used; but since Bec had never seen the original before, she gave it a watch after having gone to see the reworking in theatres, and the duo compare notes on things that were different, what worked and what didn't.

For Song of the Week, since the "Blue Hawaii" album is seen prominently in the new "Lilo and Stitch", both hosts decided to pick songs from the 1961 classic, with Justin first picking "Ku-U-I-Po," the ballad also written by "Can't Help Falling in Love" cowriters Peretti-Creatore-Weiss for "Blue Hawaii."

Bec then dives headfirst into the multi-faceted history behind "Aloha Oe," the traditional Hawaiian song penned by the last Queen of Hawai'i, Liliʻuokalani, and its double meaning as both a simple romantic farewell as well as symbolizing the loss of indigenous sovereignty. This prompts further discussion on how the song is used in "Blue Hawaii" and in both versions of "Lilo and Stitch," bringing the whole thing together.

Be warned - if you haven't made it out to see the movie, this whole episode contains numerous spoilers for both the 2002 and 2025 versions of "Lilo and Stitch."

If you enjoy TCBCast, please consider supporting us with a donation at Patreon.com/TCBCast. Your support allows us to continue to provide thoughtful, provocative, challenging and well-researched perspectives on Elvis's career, his peers and influences, and his cultural impact and legacy.

Justin was in Iowa on a non-Elvis trip but decided to swing up to see Jamie Kelley in his natural habitat: the EAP Society set! However, the set was undergoing major changes for their upcoming Season 4, so while nothing was filmed, the duo stepped outside and recorded an off-the-cuff discussion about Baz Luhrmann's announcement of the official title for his upcoming film utilizing Elvis footage, "Baz Luhrmann's EPiC: Elvis Presley in Concert," the subsequent press information released by Sony after Baz's presentation at Sony Music Vision, and what it all potentially means for the fandom in the months and years to come.

If you want to hear more from Jamie and John, check out their YouTube channel or visit EAPSociety.com for details on how to follow and support them.

If you enjoy TCBCast, please consider supporting us with a donation at Patreon.com/TCBCast. Your support allows us to continue to provide thoughtful, provocative, challenging and well-researched perspectives on Elvis's career, his peers and influences, and his cultural impact and legacy. Patrons received an extended edit of this discussion with almost 40 more minutes of mulling over the ways different Elvis projects have approached or avoided depicting Elvis's artistic process, the state of the fandom and much more!

Ryan Droste returns to TCBCast, this time to guide us through his response to an intriguing listener email all about how history teachers like him may choose to discuss Elvis's place in the broader story of American history, and how he specifically teaches his teenage students about Elvis, Sun Records, race relations and the music industry of the 1950s.

For Song of the Week, Ryan picks the beautifully sung ballad "Today Tomorrow and Forever" from one of his all-time favorite Elvis movies, Viva Las Vegas, both as a solo cut and as a duet with Ann-Margret.

Then, Justin pieces together an unexpectedly heartbreaking story behind the cheerful Olivia Newton-John hit "Let Me Be There" that Elvis famously covered in his March 20, 1974, Memphis concert (released as an album itself) as well as resurfacing a few years later again on the Moody Blue album. This is a Song of the Week that you do not want to miss - it may change how you think of the song entirely. uge thanks goes out to David "Ghosty" Wills of "We Say Yeah" for his assistance with research materials for this Song of the Week.

You can check out more of Ryan's history content at youtube.com/MrDrosteHistory as well as find him as usual discussing pro wrestling on Top Rope Nation.

CONTENT WARNING: the SOTW segment starting at 1:39:15 contains discussion about suicide.

If you enjoy TCBCast, please consider supporting us with a donation at Patreon.com/TCBCast. Your support allows us to continue to provide thoughtful, provocative, challenging and well-researched perspectives on Elvis's career, his peers and influences, and his cultural impact and legacy. Patrons receive early access to episodes, exclusive new bonus episodes and an extensive archive of over 4 years of bonus episodes covering a range of topics related to Elvis and early rock and roll!

This week, Justin and John Michael Heath from "EAP Society" discuss some recent Elvis news including the discovery of a longer, extended clip of behind the scenes footage from the making of Love Me Tender, confirmation from Disney of more Elvis songs returning in the Lilo & Stitch remake (review coming next week!), and then the guys talk about their recent adventures having their attention drawn to two artists Elvis openly acknowledged as influences but are only infrequently discussed: vocalists Arthur Prysock and John Gary, the former a semi-operatic soul singer whose dulcet tones blurred genre lines between jazz, R&B, pop and country, and the latter a remarkable tenor whose strong, controlled and nuanced voice clearly resonated with Elvis.

Then for Song of the Week, John highlights Elvis's recitation of Hank Williams's "Men with Broken Hearts" and explores the way Elvis seemed to draw from music to explore and articulate his feelings about real life. Meanwhile, Justin tries his best to make amends with the 1961 minor hit ballad, "I'm Yours," a track laden with Floyd Cramer's heavy organ, after learning where songwriters Don Robertson and Hal Blair intended the song to be used.

If you enjoy TCBCast, please consider supporting us with a donation at Patreon.com/TCBCast. Your support allows us to continue to provide thoughtful, provocative, challenging and well-researched perspectives on Elvis's career, his peers and influences, and his cultural impact and legacy.

Bec and Justin discuss their favorites of the many songs Elvis recorded or performed titled after the women and girls they're about by name. From Caroline to Petunia, Marguerita to Marie and Annie to Kathleen, the tunes span the breadth of love, heartbreak and stories of unique musical characters.

For Song of the Week, Justin takes the opportunity to jump from Elvis's messy but fun home recording of "San Antonio Rose" to explore a bit of the history behind Bob Wills' iconic western swing hit, examine contemporary perspectives that challenge our ideas of what the boundaries of oldies "country" music were, and how the Texas Playboys' work paved the way for rockabilly and rock and roll.

Then Bec celebrates a belated Easter, spotlighting Elvis's heartfelt 1973 cover of Dottie Rambo's "If That Isn't Love," a gospel record all about Jesus's sacrifice, as well as explore a bit of the detail behind the friendship Elvis and Dottie shared and his deep appreciation for the music of her family group, The Rambos.

If you enjoy TCBCast, please consider supporting us with a donation at Patreon.com/TCBCast. Your support allows us to continue to provide thoughtful, provocative, challenging and well-researched perspectives on Elvis's career, his peers and influences, and his cultural impact and legacy.

This week, John Michael Heath from EAP Society joins Justin to reflect on the music of pianist, producer, and songwriter David Briggs, who first joined Elvis in the recording studio in 1966 and continued working through the rest of Elvis's career periodically in and out of sessions and live shows. David passed away this past week at the age of 82. The guys select some of their favorite tracks featuring David's work, and also remember Wink Martindale and Will Hutchins who both passed away as well.

For Song of the Week, call it a belated Easter segment, with Justin selecting Elvis's versions of the country standard "There Goes My Everything" and its gospel counterpart "He Is My Everything" from the early 1970s. John then gives us a quick primer on how to interpret Elvis's approach to the melding white and black gospel traditions for the How Great Thou Art sessions before spotlighting the more direct influence of Jimmy Jones & The Sensationals on "So High." Justin then takes the baton and together the duo explore the earlier (and Biblical) roots of the song and a couple neat secularized R&B versions of the same song.

You can hear more from John and Jamie Kelley at youtube.com/EAPSociety or visiting eapsociety.com.

If you enjoy TCBCast, please consider supporting us with a donation at Patreon.com/TCBCast. Your support allows us to continue to provide thoughtful, provocative, challenging and well-researched perspectives on Elvis's career, his peers and influences, and his cultural impact and legacy.

Rabia from "Suddenly: A Frank Sinatra Podcast" and "TCBCast After Dark" joins Justin for a main feed discussion all about the 1977 compilation "Welcome to My World," which brought together an intriguing collection of country recordings spanning from 1958-1973 with some loose thematic threads that we try to tease out. Plus, Rabia dug up a handful of original contemporary reviews that reveal how critics received this album at the time, both positively and negatively!

For Song of the Week, as voted on by TCBCast Patreon backers, Justin rolls with the final track featured on the album, Don Gibson's "I Can't Stop Loving You" which was a mainstay of Elvis's setlists for a number of years and also recorded as a jam during his 1969 sessions. Justin reflects on Gibson's original, Ray Charles' iconic cover, and what Elvis might have intended with his frequent inclusion of it in his live shows.

Rabia then takes us home with a dive into the rare one-liner Elvis did (twice!) of "Tiptoe Through the Tulips," a Tin Pan Alley song resurrected in 1968 - the same year Elvis was filmed on the set of his NBC TV special singing the song - by the immensely talented pop culture phenomenon that was Tiny Tim.

You can find "SUDDENLY" on most major podcast platforms where TCBCast is also available.

If you enjoy TCBCast, please consider supporting us with a donation at Patreon.com/TCBCast. Your support allows us to continue to provide thoughtful, provocative, challenging and well-researched perspectives on Elvis's career, his peers and influences, and his cultural impact and legacy.